An essay about Walt Whitman

Walter Whitman (May 31, 1819–March 26, 1892) was an American poet, essayist, journalist, and humanist. Proclaimed the "greatest of all American poets" by many foreign observers a mere four years after his death,[citation needed] he is viewed as the first urban poet. He was a part of the transition between Transcendentali** and Reali**, incorporating both views in his works. His works have been translated into more than twenty-five languages. Whitman is among the most influential and controversial poets in the American canon. His work has been described as a "rude shock" and "the most audacious and debatable contribution yet made to American literature." As Whitman wrote in Leaves of Grass (By Blue Ontario's Shore), "Rhymes and rhymers pass away...America justifies itself, give it time..."

Early life

Walter Whitman was born May 31, 1819 in West Hills, Long Island, to parents of Quaker background, Walter and Louisa Van Velsor Whitman. He was the second of nine children. [4] One of his siblings, born prior to him, did not make it past infancy. His mother was barely literate and of Dutch descent and his father was a Quaker carpenter. In 1823 the family moved to Brooklyn, where for six years Whitman attended public schools. It was the only formal education he ever received. His mother taught him the value of family ties, and Whitman remained devoted to his family throughout his life, becoming, in a real sense, its leader after the death of his father. Whitman inherited the liberal intellectual and political attitudes of a free thinker from his father, who exposed him to the ideas and writings of the socialists Frances Wright and Robert Dale Owen, the liberal Quaker Elias Hicks, and the deist Count Volney.

One advantage of living in Brooklyn was that Whitman saw many of the famous people of the day when they visited nearby New York City. Thus he saw President Andrew Jackson and Marquis de Lafayette.In what was one of Whitman's favorite childhood stories Marquis de Lafayette visited New York and, selecting the six-year-old Walt from the crowd, lifted him up and carried him. Whitman came to view this event as a kind of laying on of hands: the French hero of the American Revolution anointing the future poet of democracy in the energetic city of immigrants where the nation was being invented day by day.

At age eleven he worked as an office boy for lawyers and a doctor, then in the summer of 1831 became a printer's devil for the Long Island Patriot, a four-page weekly whose editor, Samuel L. Clements (NOT Samuel L. Clemens/ Mark Twain), shared the liberal political views of his father. It was here that Whitman first broke into print with "sentimental" bits of filler material. The following summer Whitman went to work for another printer, Erastus Worthington, and in the autumn he moved on to the shop of Alden Spooner, the most successful publisher-printer in Brooklyn. Although his family moved back to the area of West Hills in 1834, where another son, Thomas Jefferson, was born in July, Whitman stayed on in Brooklyn. He published a few pieces in the New York Mirror, attended the Bowery Theater, continued subscribing to a circulating library, and joined a local debating society. In his sixteenth year, Whitman moved to New York City to seek work as a compositor. But Whitman's move was poorly timed: a wave of Irish immigrants had contributed to the already unruly behavior in the city's streets; anti-abolitionist and anti-Irish riots often broke out; unemployment was high; and the winter was miserably cold. Whitman could not find satisfactory employment and, in May 1836, he rejoined his family, now living in Hempstead, Long Island. Whitman taught at various schools until the spring of 1838, when, with the financial support of friends, he began his own newspaper, the weekly Long Islander, in Huntington.

Whitman 's stint as an independent newspaperman lasted until May 1839, when he sold the paper and his equipment and went again to New York. This time he was more fortunate, landing a job in Jamaica with James J. Brenton, editor of the Long Island Democrat.[4] In 1841 he moved to New York City, working initially as a printer but ultimately as a journalist. His first important post was as editor of the New York Aurora in 1842. Throughout the 1840s he worked for more than a dozen New York City newspapers, including the Brooklyn Daily Eagle, where he was editor between 1846 and 1848. His position at the Eagle was abruptly terminated in part because of his disagreement with the newspaper's owners over the wisdom of the Wilmot Proviso, which stated that all territories had to be admitted into the Union as free soil states. The fact that he started a free soil paper in 1849 reinforces the conclusion that Whitman left his New Orleans post partly for political reasons. Generally, Whitman's position on slavery was that it was an evil, but so long as the Constitution made it legal, he believed that fugitive slave laws should be obeyed. He stated his views on slavery in a quasi-political treatise called The Eighteenth Presidency written between 1854 and 1856; although it was put into proof sheets, it was never published in Whitman's lifetime. In his optimi** for the power of American democracy, he hoped that the American people would voluntarily give up slavery rather than lose it through civil war.

His most famous work is Leaves of Grass, which he continued to edit and revise until his death and is considered his most personal and political work. A group of Civil War poems, included within Leaves of Grass, is often published as an independent collection under the name of Drum-Taps.

The first versions of Leaves of Grass were self-published and poorly received. Several poems featured graphic depictions of the human body, enumerated in Whitman's innovative "cataloging" style, which contrasted with the reserved Victorian ethic of the period. Despite its revolutionary content and structure, subsequent editions of the book evoked critical indifference in the US literary establishment. Outside the US, the book was a world-wide sensation, especially in France, where Whitman's intense humani** influenced the naturalist revolution in French letters.[4] In 2000, the value of a copy of the first edition, which had sold for $35,000 in the 1990s, was cataloged with an estimated value of $50,000 - ­$70,000.

By 1865 Walt Whitman was world-famous, and Leaves of Grass had been accepted by a publishing house in the US. Though still considered an iconoclast and a literary outsider, the poet's status began to grow at home. During his final years, Whitman became a respected literary vanguard visited by young artists. Several photographs and paintings of Whitman with a large beard cultivated a "Christ-figure" mystique. Whitman did not invent American transcendentali**, but he had become its most famous exponent and was also associated with American mystici**. In the twentieth century, young writers such as Hart Crane, William Carlos Williams, Allen Gin**erg, and Jack Kerouac rediscovered Whitman and reinterpreted his literary manifesto for a new audience.

Later life

Walt Whitman, circa 1860, by Mathew BradyWhitman began 1864 writing to various people for assistance. Of James Redpath, a Boston publisher, he asked unsuccessfully for help in publishing his accounts of Washington during the War, called "Memoranda of a Year." Other people were enlisted in an attempt to find Whitman a better paying job. John Trowbridge met with Salmon P. Chase, Secretary of the Treasury, to find Whitman a position in that department. Chase, a politically sensitive man, not only turned down Whitman because he had learned he was the author of a notorious book, but kept a letter of recommendation written by Emerson as well. During February-March 1864 Whitman visited the wounded at the front, boosting morale and passing out books for them to read. Worn out by all this activity, Whitman moved to Georgetown, Colorado in July, physically and emotionally exhausted.

The events of late 1864 did little to raise Whitman's spirits. In October he found out that his brother George had been captured by the Confederacy after a battle; whether he was wounded and where he was held remained unknown. In December Whitman took his brother Jesse, whose mind had been deteriorating, to the Kings County Lunatic Asylum and committed him. Fortunately for Whitman , more positive events were taking place in Washington. In late December, O'Connor pleaded Whitman 's case before W.T. Otto, Assistant Secretary of the Department of the Interior, and in January, Whitman was offered a low-level clerkship for, to Whitman, the more than adequate salary of $1,200 a year. Upon returning to Washington in January 1865, Whitman was assigned to the Indian Bureau division of the Interior Department. George, after being released from the Danville, Virginia, prisoner-of-war camp, returned home in March, and Whitman took a leave of absence to visit him. When he returned to Washington, Whitman was promoted to a clerkship one grade higher.

Whitman had not by any means stopped writing poetry during this period. He had, soon after the 1860 Leaves of Grass went into a second printing, begun work on a new volume of poetry, to be called Banners at Day-Break, but the failure of Thayer and Eldridge brought this plan to a halt. The verses intended for the aborted volume would find their way into the next edition of Leaves of Grass (on which Whitman was continually working) and into his next book, which would poetically comment on the Civil War.

In January 1865 Whitman was appointed a clerk in the Indian Affairs Department in Washington. By spring, not long after the assassination of President Abraham Lincoln, he was fired from his government post on the orders of Secretary of the Interior James Harlan. The charge was that Whitman was the author of a "dirty book," Leaves of Grass. Actually, Whitman's di**issal was part of an efficiency campaign, but Harlan, formerly a professor of mental and moral science in Iowa, also objected strongly to Whitman's emphasis on the body in his poetry. On 1 July, Ashton reinstated Whitman and transferred him to his own department. Whitman was relieved and his life returned to normal. O'Connor, though, was still upset and went about vindicating Whitman by publishing a biographical study, The Good Gray Poet, in January 1866. This book defended both Whitman and artistic freedom and is especially interesting today because Whitman himself had a major role in preparing it.

Over the next few years Whitman continued to work on his poetry, and in 1871 a number of works were published. Roberts Brothers of Boston published After All, Not to Create Only (later called "Song of the Exposition"), a poem which celebrated the opening of the National Industrial Exposition in New York on 7 September 1871. Whitman had been invited by the organizing committee and was paid $100 for his work, which he read in person on opening day. In the same year appeared Democratic Vistas, Whitman 's prose comments on the role of the poet in shaping both America's and humanity's destinies, and the importance of democracy as an element in the formation of character. Also in 1871 Whitman published Passage to India, which praised the completion of the Suez C****, the laying of the Atlantic cable, and the finishing of the transcontinental railroad.

In 1873, Whitman suffered a stroke while working and living in Washington, D. C. He never completely recovered, but continued to write poetry. He lived his final years at his home on Mickle Street in Camden, New Jersey, revising Leaves of Grass and receiving visitors, including Oscar Wilde.

After his stroke, his fame grew substantially both at home and abroad. Mostly it was stimulated by several prominent British writers criticizing the American academy for not recognizing Whitman's talents. These included William Rossetti and Anne Gilchrist. At this time in his life, Whitman also had a prominent group of national and international disciples, including Canadian writer and physician Richard Bucke.

During his later years, Whitman ventured out on only two significant journeys: to Colorado in 1879 and to Boston to visit Emerson in 1881. Whitman died on March 26, 1892, and was buried in Camden's Harleigh Cemetery.

Although Whitman left Long Island at age 22, he is still much revered there and especially in his native Huntington, where a large shopping mall, high school and major road are all named in his honor. The oldest newspaper on Long Island, The Long Islander, touts that it was "founded by Walt Whitman". Camden and the surrounding area also honor the poet. The Walt Whitman Bridge spans the Delaware River, linking Philadelphia and southern New Jersey, and the Walt Whitman Center at Rutgers-Camden hosts poets, plays and other events. Additionally, a statue of Whitman can be found in the campus center.

作品

Leaves of Grass

In 1855, Whitman took it upon himself to publish his first edition of Leaves of Grass. The next year he released his second edition of Leaves of Grass in 1856 with around 20 new poems. In 1860 Whitman released his third edition of Leaves of Grass, which was the first major revision and edition to his work. Whitman in 1870 added “Drum-Taps”, “Sequel to Drum-Taps”, and “Songs before Parting” to Leaves of Grass, which made this edition the first to properly address the Civil War through Whitman’s eyes. In 1881 Whitman was able to purchase his final home because of the revenue generated from the 1881 edition of Leaves of Grass. The final edition, called the deathbed edition, was released in 1892, bringing Leaves of Grass to its current state.

The public response to Leaves of Grass was initially mixed. The first notice, probably written by Charles A. Dana, in the New York Daily Tribune, complained of "a somewhat too oracular strain" and of language that is "too frequently reckless and indecent ... quite out of place amid the decorum of modern society." Nevertheless, "no impartial reader can fail to be impressed with the vigor and faint beauty of isolated portions." In short, "the taste of not overdainty fastidiousness will discern much of the essential spirit of poetry beneath an uncouth and grotesque embodiment." Charles Eliot Norton, writing in Putnam's Monthly, was not at all impressed with this "curious and lawless collection of poems ... [which] are neither in rhyme or blank verse, but in a sort of excited prose broken into lines without any attempt at measure or regularity, and, as many readers will perhaps think, without any idea of sense or reason." Leaves of Grass is ultimately di**issed as a "superficial yet profound ... preposterous yet somehow fascinating ... mixture of Yankee Transcendentali** and New York rowdyi**." The debate was beginning

Song of Myself

Song of Myself was originally published in the 1855 edition of Leaves of Grass in which it was the first of twelve poems. At the time this poem was untitled, but in 1856 Whitman titled this work “Poem of Walt Whitman: An American”. “Poem of Walt Whitman: An American” was divided into 52 numbered sections in 1867, which is how the poem is organized to this day. Then in 1881 Whitman decided to give the poem its final name: Song of Myself。

“Song of Myself is a history of the poet’s movement from loafing individual to active spirit. But the poet’s movement is paralleled by the reader’s movement from “assuming” to “resuming” and the poet controls both movements in the poem with the catalogues.”

Drum-Taps

In May 1865 Walt began printing his Civil War literature entitled, Drum-Taps. Shortly after beginning his printing of Drum-Taps Whitman pauses, and begins writing the sequel in order to add in When Lilacs Last in the Dooryard Bloom'd and O Captain! My Captain! in remembrance of President Lincoln, whom Whitman was very fond of. In late 1865 Whitman concluded his work on Drum-Taps and Sequel, and began printing them for distribution.

Drum-Taps represents yet another shift in Whitman's poetry. In the first two editions, the focus was on the self and its transcendent powers; in the third edition--with such seashore poems as "Out of the Cradle" and "As I Ebb'd with the Ocean of Life"--the poet exchanged the representative ego for a recognition that life has its human limits that the poet must also celebrate, somehow exorcising the bad from the good. In his third phase, he shifts the attention from the self of the first editions to the Christ figure in others. This is brought to its richest fruition in Whitman's elegy for Lincoln, "When Lilacs Last in the Dooryard Bloom'd." What is remarkable about the poem is its revitalization of Whitman's original powers as a poet.

求关于美国作家Walt Whitman的英文介绍

Walter Whitman (May 31, 1819–March 26, 1892) was an American poet, essayist, journalist, and humanist. Proclaimed the "greatest of all American poets" by many foreign observers a mere four years after his death,[citation needed] he is viewed as the first urban poet. He was a part of the transition between Transcendentali** and Reali**, incorporating both views in his works. His works have been translated into more than twenty-five languages. Whitman is among the most influential and controversial poets in the American canon. His work has been described as a "rude shock" and "the most audacious and debatable contribution yet made to American literature." As Whitman wrote in Leaves of Grass (By Blue Ontario's Shore), "Rhymes and rhymers pass away...America justifies itself, give it time..."

Early life

Walter Whitman was born May 31, 1819 in West Hills, Long Island, to parents of Quaker background, Walter and Louisa Van Velsor Whitman. He was the second of nine children. [4] One of his siblings, born prior to him, did not make it past infancy. His mother was barely literate and of Dutch descent and his father was a Quaker carpenter. In 1823 the family moved to Brooklyn, where for six years Whitman attended public schools. It was the only formal education he ever received. His mother taught him the value of family ties, and Whitman remained devoted to his family throughout his life, becoming, in a real sense, its leader after the death of his father. Whitman inherited the liberal intellectual and political attitudes of a free thinker from his father, who exposed him to the ideas and writings of the socialists Frances Wright and Robert Dale Owen, the liberal Quaker Elias Hicks, and the deist Count Volney.

One advantage of living in Brooklyn was that Whitman saw many of the famous people of the day when they visited nearby New York City. Thus he saw President Andrew Jackson and Marquis de Lafayette.In what was one of Whitman's favorite childhood stories Marquis de Lafayette visited New York and, selecting the six-year-old Walt from the crowd, lifted him up and carried him. Whitman came to view this event as a kind of laying on of hands: the French hero of the American Revolution anointing the future poet of democracy in the energetic city of immigrants where the nation was being invented day by day.

At age eleven he worked as an office boy for lawyers and a doctor, then in the summer of 1831 became a printer's devil for the Long Island Patriot, a four-page weekly whose editor, Samuel L. Clements (NOT Samuel L. Clemens/ Mark Twain), shared the liberal political views of his father. It was here that Whitman first broke into print with "sentimental" bits of filler material. The following summer Whitman went to work for another printer, Erastus Worthington, and in the autumn he moved on to the shop of Alden Spooner, the most successful publisher-printer in Brooklyn. Although his family moved back to the area of West Hills in 1834, where another son, Thomas Jefferson, was born in July, Whitman stayed on in Brooklyn. He published a few pieces in the New York Mirror, attended the Bowery Theater, continued subscribing to a circulating library, and joined a local debating society. In his sixteenth year, Whitman moved to New York City to seek work as a compositor. But Whitman's move was poorly timed: a wave of Irish immigrants had contributed to the already unruly behavior in the city's streets; anti-abolitionist and anti-Irish riots often broke out; unemployment was high; and the winter was miserably cold. Whitman could not find satisfactory employment and, in May 1836, he rejoined his family, now living in Hempstead, Long Island. Whitman taught at various schools until the spring of 1838, when, with the financial support of friends, he began his own newspaper, the weekly Long Islander, in Huntington.

Whitman 's stint as an independent newspaperman lasted until May 1839, when he sold the paper and his equipment and went again to New York. This time he was more fortunate, landing a job in Jamaica with James J. Brenton, editor of the Long Island Democrat.[4] In 1841 he moved to New York City, working initially as a printer but ultimately as a journalist. His first important post was as editor of the New York Aurora in 1842. Throughout the 1840s he worked for more than a dozen New York City newspapers, including the Brooklyn Daily Eagle, where he was editor between 1846 and 1848. His position at the Eagle was abruptly terminated in part because of his disagreement with the newspaper's owners over the wisdom of the Wilmot Proviso, which stated that all territories had to be admitted into the Union as free soil states. The fact that he started a free soil paper in 1849 reinforces the conclusion that Whitman left his New Orleans post partly for political reasons. Generally, Whitman's position on slavery was that it was an evil, but so long as the Constitution made it legal, he believed that fugitive slave laws should be obeyed. He stated his views on slavery in a quasi-political treatise called The Eighteenth Presidency written between 1854 and 1856; although it was put into proof sheets, it was never published in Whitman's lifetime. In his optimi** for the power of American democracy, he hoped that the American people would voluntarily give up slavery rather than lose it through civil war.

His most famous work is Leaves of Grass, which he continued to edit and revise until his death and is considered his most personal and political work. A group of Civil War poems, included within Leaves of Grass, is often published as an independent collection under the name of Drum-Taps.

The first versions of Leaves of Grass were self-published and poorly received. Several poems featured graphic depictions of the human body, enumerated in Whitman's innovative "cataloging" style, which contrasted with the reserved Victorian ethic of the period. Despite its revolutionary content and structure, subsequent editions of the book evoked critical indifference in the US literary establishment. Outside the US, the book was a world-wide sensation, especially in France, where Whitman's intense humani** influenced the naturalist revolution in French letters.[4] In 2000, the value of a copy of the first edition, which had sold for $35,000 in the 1990s, was cataloged with an estimated value of $50,000 - ­$70,000.

By 1865 Walt Whitman was world-famous, and Leaves of Grass had been accepted by a publishing house in the US. Though still considered an iconoclast and a literary outsider, the poet's status began to grow at home. During his final years, Whitman became a respected literary vanguard visited by young artists. Several photographs and paintings of Whitman with a large beard cultivated a "Christ-figure" mystique. Whitman did not invent American transcendentali**, but he had become its most famous exponent and was also associated with American mystici**. In the twentieth century, young writers such as Hart Crane, William Carlos Williams, Allen Gin**erg, and Jack Kerouac rediscovered Whitman and reinterpreted his literary manifesto for a new audience.

Later life

Walt Whitman, circa 1860, by Mathew BradyWhitman began 1864 writing to various people for assistance. Of James Redpath, a Boston publisher, he asked unsuccessfully for help in publishing his accounts of Washington during the War, called "Memoranda of a Year." Other people were enlisted in an attempt to find Whitman a better paying job. John Trowbridge met with Salmon P. Chase, Secretary of the Treasury, to find Whitman a position in that department. Chase, a politically sensitive man, not only turned down Whitman because he had learned he was the author of a notorious book, but kept a letter of recommendation written by Emerson as well. During February-March 1864 Whitman visited the wounded at the front, boosting morale and passing out books for them to read. Worn out by all this activity, Whitman moved to Georgetown, Colorado in July, physically and emotionally exhausted.

The events of late 1864 did little to raise Whitman's spirits. In October he found out that his brother George had been captured by the Confederacy after a battle; whether he was wounded and where he was held remained unknown. In December Whitman took his brother Jesse, whose mind had been deteriorating, to the Kings County Lunatic Asylum and committed him. Fortunately for Whitman , more positive events were taking place in Washington. In late December, O'Connor pleaded Whitman 's case before W.T. Otto, Assistant Secretary of the Department of the Interior, and in January, Whitman was offered a low-level clerkship for, to Whitman, the more than adequate salary of $1,200 a year. Upon returning to Washington in January 1865, Whitman was assigned to the Indian Bureau division of the Interior Department. George, after being released from the Danville, Virginia, prisoner-of-war camp, returned home in March, and Whitman took a leave of absence to visit him. When he returned to Washington, Whitman was promoted to a clerkship one grade higher.

Whitman had not by any means stopped writing poetry during this period. He had, soon after the 1860 Leaves of Grass went into a second printing, begun work on a new volume of poetry, to be called Banners at Day-Break, but the failure of Thayer and Eldridge brought this plan to a halt. The verses intended for the aborted volume would find their way into the next edition of Leaves of Grass (on which Whitman was continually working) and into his next book, which would poetically comment on the Civil War.

In January 1865 Whitman was appointed a clerk in the Indian Affairs Department in Washington. By spring, not long after the assassination of President Abraham Lincoln, he was fired from his government post on the orders of Secretary of the Interior James Harlan. The charge was that Whitman was the author of a "dirty book," Leaves of Grass. Actually, Whitman's di**issal was part of an efficiency campaign, but Harlan, formerly a professor of mental and moral science in Iowa, also objected strongly to Whitman's emphasis on the body in his poetry. On 1 July, Ashton reinstated Whitman and transferred him to his own department. Whitman was relieved and his life returned to normal. O'Connor, though, was still upset and went about vindicating Whitman by publishing a biographical study, The Good Gray Poet, in January 1866. This book defended both Whitman and artistic freedom and is especially interesting today because Whitman himself had a major role in preparing it.

Over the next few years Whitman continued to work on his poetry, and in 1871 a number of works were published. Roberts Brothers of Boston published After All, Not to Create Only (later called "Song of the Exposition"), a poem which celebrated the opening of the National Industrial Exposition in New York on 7 September 1871. Whitman had been invited by the organizing committee and was paid $100 for his work, which he read in person on opening day. In the same year appeared Democratic Vistas, Whitman 's prose comments on the role of the poet in shaping both America's and humanity's destinies, and the importance of democracy as an element in the formation of character. Also in 1871 Whitman published Passage to India, which praised the completion of the Suez C****, the laying of the Atlantic cable, and the finishing of the transcontinental railroad.

In 1873, Whitman suffered a stroke while working and living in Washington, D. C. He never completely recovered, but continued to write poetry. He lived his final years at his home on Mickle Street in Camden, New Jersey, revising Leaves of Grass and receiving visitors, including Oscar Wilde.

After his stroke, his fame grew substantially both at home and abroad. Mostly it was stimulated by several prominent British writers criticizing the American academy for not recognizing Whitman's talents. These included William Rossetti and Anne Gilchrist. At this time in his life, Whitman also had a prominent group of national and international disciples, including Canadian writer and physician Richard Bucke.

During his later years, Whitman ventured out on only two significant journeys: to Colorado in 1879 and to Boston to visit Emerson in 1881. Whitman died on March 26, 1892, and was buried in Camden's Harleigh Cemetery.

Although Whitman left Long Island at age 22, he is still much revered there and especially in his native Huntington, where a large shopping mall, high school and major road are all named in his honor. The oldest newspaper on Long Island, The Long Islander, touts that it was "founded by Walt Whitman". Camden and the surrounding area also honor the poet. The Walt Whitman Bridge spans the Delaware River, linking Philadelphia and southern New Jersey, and the Walt Whitman Center at Rutgers-Camden hosts poets, plays and other events. Additionally, a statue of Whitman can be found in the campus center.

作品

Leaves of Grass

In 1855, Whitman took it upon himself to publish his first edition of Leaves of Grass. The next year he released his second edition of Leaves of Grass in 1856 with around 20 new poems. In 1860 Whitman released his third edition of Leaves of Grass, which was the first major revision and edition to his work. Whitman in 1870 added “Drum-Taps”, “Sequel to Drum-Taps”, and “Songs before Parting” to Leaves of Grass, which made this edition the first to properly address the Civil War through Whitman’s eyes. In 1881 Whitman was able to purchase his final home because of the revenue generated from the 1881 edition of Leaves of Grass. The final edition, called the deathbed edition, was released in 1892, bringing Leaves of Grass to its current state.

The public response to Leaves of Grass was initially mixed. The first notice, probably written by Charles A. Dana, in the New York Daily Tribune, complained of "a somewhat too oracular strain" and of language that is "too frequently reckless and indecent ... quite out of place amid the decorum of modern society." Nevertheless, "no impartial reader can fail to be impressed with the vigor and faint beauty of isolated portions." In short, "the taste of not overdainty fastidiousness will discern much of the essential spirit of poetry beneath an uncouth and grotesque embodiment." Charles Eliot Norton, writing in Putnam's Monthly, was not at all impressed with this "curious and lawless collection of poems ... [which] are neither in rhyme or blank verse, but in a sort of excited prose broken into lines without any attempt at measure or regularity, and, as many readers will perhaps think, without any idea of sense or reason." Leaves of Grass is ultimately di**issed as a "superficial yet profound ... preposterous yet somehow fascinating ... mixture of Yankee Transcendentali** and New York rowdyi**." The debate was beginning

Song of Myself

Song of Myself was originally published in the 1855 edition of Leaves of Grass in which it was the first of twelve poems. At the time this poem was untitled, but in 1856 Whitman titled this work “Poem of Walt Whitman: An American”. “Poem of Walt Whitman: An American” was divided into 52 numbered sections in 1867, which is how the poem is organized to this day. Then in 1881 Whitman decided to give the poem its final name: Song of Myself。

“Song of Myself is a history of the poet’s movement from loafing individual to active spirit. But the poet’s movement is paralleled by the reader’s movement from “assuming” to “resuming” and the poet controls both movements in the poem with the catalogues.”

Drum-Taps

In May 1865 Walt began printing his Civil War literature entitled, Drum-Taps. Shortly after beginning his printing of Drum-Taps Whitman pauses, and begins writing the sequel in order to add in When Lilacs Last in the Dooryard Bloom'd and O Captain! My Captain! in remembrance of President Lincoln, whom Whitman was very fond of. In late 1865 Whitman concluded his work on Drum-Taps and Sequel, and began printing them for distribution.

Drum-Taps represents yet another shift in Whitman's poetry. In the first two editions, the focus was on the self and its transcendent powers; in the third edition--with such seashore poems as "Out of the Cradle" and "As I Ebb'd with the Ocean of Life"--the poet exchanged the representative ego for a recognition that life has its human limits that the poet must also celebrate, somehow exorcising the bad from the good. In his third phase, he shifts the attention from the self of the first editions to the Christ figure in others. This is brought to its richest fruition in Whitman's elegy for Lincoln, "When Lilacs Last in the Dooryard Bloom'd." What is remarkable about the poem is its revitalization of Whitman's original powers as a poet.

一篇英语阅读题 求答案以及翻译。

Photos that you might have found down the back of your sofa are now big business!

In 2005, the American artist Richard Prince’s photograph of a photograph, Untitled (Cowboy), was sold for $ 1, 248, 000.

Prince is certainly not the only contemporary artist to have worked with so-called “found photographs”—a loose term given to everything from discarded(丢弃的) prints discovered in a junk shop to old advertisements or ******* photographs from a stranger’s family album. The German artist Joachim Schmid, who believes “basically everything is worth looking at”, has gathered discarded photographs, postcards and newspaper images since 1982. In his on-going project, Archiv, he groups photographs of family life according to themes: people with dogs; teams; new cars; dinner with the family; and so on.

Like Schmid, the editors of several self-published art magazines also champion (捍卫) found photographs. One of them, called simply Found, was born one snowy night in Chicago, when Davy Rothbard returned to his car to find under his wiper(雨刷) an angry note intended for some else: “Why’s your car HERE at HER place?” The note became the starting point for Rothbard’s addictive publication, which features found photographs sent in by readers, such a poster discovered in our drawer.

The whole found-photograph phenomenon has raised some questions. Perhaps one of the most difficult is: can these images really be considered as art? And if so, whose art? Yet found photographs produced by artists, such Richard Prince, may riding his horse hurriedly to meet someone? Or how did Prince create this photograph? It’s anyone’s guess. In addition, as we imagine the back-story to the people in the found photographs artists, like Schmid, have collated (整理), we also turn toward our own photographic albums. Why is memory so important to us? Why do we all seek to freeze in time the faces of our children, our parents, our lovers, and ourselves? Will they mean anything to anyone after we’ve gone?

那被你在你的沙发下后面找到的照片现在是大笔生意!

在2005年，美国艺术家Richard Prince的照片，无标题的(牛仔)，以 $ 1, 248, 000被卖了。

Prince的确不是当代唯一的艺术家。他与所谓的“found photographs”—— 一个在不固定的期限里从旧货店发现的被丢弃的印刷品对旧广告或从一个陌生的家庭册页的非职业照片。 德国艺术家Joachim Schmid，相信“基本上一切值得看”，会集了被丢弃的照片、明信片和报纸图片自1982年以来。 在他持续的项目， Archiv，他根据题材编组家庭生活的照片： 有狗的人们; 队; 新车; 家庭的晚餐; 等等。

就像Schmid，这位自已出版几本艺术杂志编辑，也捍卫这些被找到的照片。 其中的一个，仅仅被叫作“Found”，是出生一多雪的夜在芝加哥，当Davy Rothbard回到他的汽车发现在他的雨刷之有一张的恼怒的字条： “为什么在这里，您的汽车在她的地方？”笔记成为了Rothbard’s致瘾出版物的，起点特点发现照片读者送，在我们的抽屉发现的这样海报。

The整体发现照片现象提出了有些问题。 或许一最困难是： 这些图象真的能被被认为是艺术吗？ 如果可以，那是谁的艺术？ 被找到的照片由艺术家，这样Richard Prince生产了，可以仓促地骑着他的马遇见某人？ 或者王子怎么创造了这张照片？ 这是大家的猜测。 另外，当我们想象这些找到的照片的艺术家们（比如Schmid）背后故事的时候，我们也转动往我们自己的摄影册页。 为什么是记忆很重要对我们？ 我们所有寻求为什么结冰在计时我们的孩子、我们的父母，我们的恋人和我们自己？ 它们是否将意味是在我们离去后的任何人的任何一切？

self-published是什么意思

self-published

[英]'selfp'ʌblɪʃt

[美]'selfp'ʌblɪʃt

adj. 由作者自行出版的

[例句]Ask others who have already self-published to share their resources with you.

设法让那些已经完成自助出版的人分享他们的资源。

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