He uses another example of a slave auction to show that setting a value on a human body is not the way that people are meant to be. When the family arrives, the owner presents them with two eggs, laid only days before their arrival. And if those who defile the living are as bad as they who defile the dead? Do you suppose you have a right to a good sight, and he or she has no right to a sight? Examine these limbs, red, black, or white, they are cunning in tendon and nerve, They shall be stript that you may see them. And if the body does not do as much as the Soul? Upper-arm, arm-pit, elbow-socket, lower-arm, arm-sinews, arm-bones, 140 Wrist and wrist-joints, hand, palm, knuckles, thumb, fore-finger, finger-balls, finger-joints, finger-nails, Broad breast-front, curling hair of the breast, breast-bone, breast- side, Ribs, belly, back-bone, joints of the back-bone, Hips, hip-sockets, hip-strength, inward and outward round, man-balls, man-root, Strong set of thighs, well carrying the trunk above, Leg-fibres, knee, knee-pan, upper-leg, under leg, Ankles, instep, foot-ball, toes, toe-joints, the heel; All attitudes, all the shapeliness, all the belongings of my or your body, or of any one's body, male or female, The lung-sponges, the stomach-sac, the bowels sweet and clean, The brain in its folds inside the skull-frame, 150 Sympathies, heart-valves, palate-valves, sexuality, maternity, Womanhood, and all that is a woman--and the man that comes from woman, The womb, the teats, nipples, breast-milk, tears, laughter, weeping, love-looks, love-perturbations and risings, The voice, articulation, language, whispering, shouting aloud, Food, drink, pulse, digestion, sweat, sleep, walking, swimming, Poise on the hips, leaping, reclining, embracing, arm-curving and tightening, The continual changes of the flex of the mouth, and around the eyes, The skin, the sun-burnt shade, freckles, hair, The curious sympathy one feels, when feeling with the hand the naked meat of the body, The circling rivers, the breath, and breathing it in and out, 160 The beauty of the waist, and thence of the hips, and thence downward toward the knees, The thin red jellies within you, or within me--the bones, and the marrow in the bones, The exquisite realization of health; O I say, these are not the parts and poems of the Body only, but of the Soul, O I say now these are the Soul! Leaves of Grass was published in nine editions, with Whitman elaborating on it in each successive edition. The first edition was published in 1855 but, Whitman spent most of his professional life writing and rewriting Leaves of Grass, until his death in 1892 at the age of 72. Social Commentary: Whitman, being the famous transcendentalist that he is, is very against having separate groups, with someone ending up as the other. Throughout the section, I have noticed as a reader a few stanzas that included asking the reader questions.
They each know that even though they will move onward, a part of them will die with the town; they ultimately accept this without ill feeling, seeing the inevitably changing course of the road like that of a flowing river. While reading, I noticed that Whitman never even mentions an individual working in a government job or a wealthy person. Whitman takes advantage of this outlet and reminds his readers that all human bodies have the same blood running through their veins, regardless of race. Exquisite senses, life-lit eyes, pluck, volition, Flakes of breast-muscle, pliant back-bone and neck, flesh not flabby, good-sized arms and legs, And wonders within there yet. Whitman draws connections between people based on physical appearance and the simplicity of the human form. I believe his commentary on class system in section 3 about how a man he knew who had lived a life of being a regular farmer and not completely surrounded in riches made the farmer the happiest man in the world was truly quite clever; I myself am a firm believer that money can't make someone happy but can prolong a state of that person believing they are happy so Walt Whitman creating commentary on that topic is incredible to hear from another person of his pedigree. She too is not only herself--she is the teeming mother of mothers; She is the bearer of them that shall grow and be mates to the mothers.
This poem is no different. Whitman describes a humans' body as something sacred. Not only is this very unique but it often times makes it easier for the reader to understand. Time ticks by, the intelligence in the water growing desperate, knowing that if it cannot lure the man before he leaves today, it will be over. Here there is no othering. Whitman's signature list structure features prominently in this piece and serves as a tool to draw the 's attention to the unique qualities of the human body while also celebrating the body parts' cumulative significance.
In this head the all-baffling brain; 100 In it and below it, the makings of heroes. Now, of course, this is just my own mental image, as Walt Whitman could not actually earthbend, but it has the same effect on me as his words, seeing as how he metaphorically raised each group of people men, women, slave auctioneers, slaves up to the same level, saying they were all the same. All people are made to be equal, and anyone who goes against this does not deserve to be in perfect form. All is a procession, The universe is a procession with measured and perfect motion. I find a lot of hope in them. It all shows just how equal we are even in gender roles. Whitman looks at things differently than we do.
Whitman goes against all oppression and reveals how equal all forms of life are. It shows how passionate and in love he is with himself. The man sounds pretty normal; he was a nice guy with a loving family and hobbies, but everything about him is unique because there is no one else like him. On his way, he gets a call from a passing ship; is he finally rescued, or is it simply another trick played on him by his own voice? You picture a pair of humans up high, for other spectators to view. As seen in section 4, he uses many adjectives to describe the body in general. Always a central element in Whitman's ecstatic imagination, the body is here both ostensible and central subject of the poem. Each belongs here or anywhere just as much as the well-off, just as much as you, Each has his or her place in the procession.
First a man, then a woman. The expression of the face balks account, But the expression of a well-made man appears not only in his face, It is in his limbs and joints also, it is curiously in the joints of his hips and wrists, It is in his walk, the carriage of his neck, the flex of his waist and knees, dress does not hide him, The strong sweet quality he has strikes through the cotton and broadcloth, To see him pass conveys as much as the best poem, perhaps more, You linger to see his back, and the back of his neck and shoulder-side. Whitman uses excellent diction, connotation and social protest. This not only gives the reader a visual of the beauty and grace he views women as, but a peak into Whitman's view of the oversoul and how we are all connected and one in the same. He does not pick the body or soul to be more important than one or the other but suggests that helpers of each other that enable spirituality and poetry. Whitman has that power to stimulate your mind through his verses. The man's body is sacred, and the woman's body is sacred; No matter who it is, it is sacred; Is it a slave? He radiated good thoughts and a positive energy that he passed along through anyone around him.
Do you think matter has cohered together from its diffuse floatand the soil is on the surface, and water runs, and vegetation sprouts, For you , and not for him and her? Throughout his writing you see how easily he shows the equality between men and women, although those thoughts were clearly ignored by others during that time. And if the body does not do fully as much as the soul? The stunning descriptions and imagery give the piece life and in my opinion it gives it an artistic feel that a reader can hook on to. Whitman is among the most influential poets in the American canon, often called the father of free verse. In stanza 4, Whitman says that he will like whoever. The children take turns selecting her parts, the color of her eyes, even the tone of her voice. To separate people by race or gender is wrong, and we all must come together to be a part of our common world. Your fatherwhere is your father? Even mentioning how a working farmer, or a strong, brave fireman could be equal to a mother could instantly enrage many people, yet Whitman believed so, and thought they were all perfect in their own fashions.
The sprawl and fulness of babes, the bosoms and heads of women, the folds of their dress, their style as we pass in the street, the contour of their shape downwards, The swimmer naked in the swimming-bath, seen as he swims through the transparent green-shine, or lies with his face up and rolls silently to and from the heave of the water, The bending forward and backward of rowers in row-boats, the horse-man in his saddle, Girls, mothers, house-keepers, in all their performances, The group of laborers seated at noon-time with their open dinner-kettles, and their wives waiting, The female soothing a child, the farmer's daughter in the garden or cow-yard, The young fellow hosing corn, the sleigh-driver driving his six horses through the crowd, The wrestle of wrestlers, two apprentice-boys, quite grown, lusty, good-natured, native-born, out on the vacant lot at sundown after work, The coats and caps thrown down, the embrace of love and resistance, The upper-hold and under-hold, the hair rumpled over and blinding the eyes; The march of firemen in their own costumes, the play of masculine muscle through clean-setting trowsers and waist-straps, The slow return from the fire, the pause when the bell strikes suddenly again, and the listening on the alert, The natural, perfect, varied attitudes, the bent head, the curv'd neck and the counting; Such-like I love--I loosen myself, pass freely, am at the mother's breast with the little child, Swim with the swimmers, wrestle with wrestlers, march in line with the firemen, and pause, listen, count. In part one, he talks about engirthing and corruption of the soul. This starts as a treatise on human vigour, beauty and life itself. Writing about human bowels and making it sound pleasant is a task well accomplished. He uses amazing details to illustrate the world around him, specifically the human body. I do not ask any more delightI swim in it, as in a sea.
Booth had killed Lincoln to gain attention and pleasure. Whitman also says that no matter your occupation or if you are a sister, brother or mother your body is still beautiful. Though this poem could have been just as effective without the numbered, separate verses, the division highlights the specific intent of each verse despite their all being part of the same poem - just like the unique parts of the body comprise a unified whole. Whitman presents his glimpses of the body almost as quick snapshots, and he is both observer and participant in the scenes and experiences. Have you ever loved the body of a man? There is something in staying close to men and women and looking on them, and in the contact and odor of them, that pleases the soul well, All things please the soul, but these please the soul well This starts as a treatise on human vigour, beauty and life itself.
I am drawn by its breath as if I were no more than a helpless vapor-- all falls aside but myself and it; Books, art, religion, time, the visible and solid earth, the atmosphere and the clouds, and what was expected of heaven or fear'd of hell, are now consumed; Mad filaments, ungovernable shoots play out of it--the response likewise ungovernable; Hair, bosom, hips, bend of legs, negligent falling hands, all diffused--mine too diffused; Ebb stung by the flow, and flow stung by the ebb--love-flesh swelling and deliciously aching; Limitless limpid jets of love hot and enormous, quivering jelly of love, white-blow and delirious juice; 60 Bridegroom night of love, working surely and softly into the prostrate dawn; Undulating into the willing and yielding day, Lost in the cleave of the clasping and sweet-flesh'd day. Strangely the poet, in the previous stanza, has spoken of helping an auctioneer sell a male slave. I dare not desert the likes of you in other men and women, nor the likes of the parts of you, I believe the likes of you are to stand or fall with the likes of the soul, and that they are the soul, I believe the likes of you shall stand or fall with my poems, and that they are my poems, Man's, woman's, child, youth's, wife's, husband's, mother's, father's, young man's, young woman's poems, Head, neck, hair, ears, drop and tympan of the ears, Eyes, eye-fringes, iris of the eye, eyebrows, and the waking or sleeping of the lids, Mouth, tongue, lips, teeth, roof of the mouth, jaws, and the jaw-hinges, Nose, nostrils of the nose, and the partition, Cheeks, temples, forehead, chin, throat, back of the neck, neck-slue, Strong shoulders, manly beard, scapula, hind-shoulders, and the ample side-round of the chest, Upper-arm, armpit, elbow-socket, lower-arm, arm-sinews, arm-bones, Wrist and wrist-joints, hand, palm, knuckles, thumb, forefinger, finger-joints, finger-nails, Broad breast-front, curling hair of the breast, breast-bone, breast-side, Ribs, belly, backbone, joints of the backbone, Hips, hip-sockets, hip-strength, inward and outward round, man-balls, man-root, Strong set of thighs, well carrying the trunk above, Leg-fibres, knee, knee-pan, upper-leg, under-leg, Ankles, instep, foot-ball, toes, toe-joints, the heel; All attitudes, all the shapeliness, all the belongings of my or your body or of any one's body, male or female, The lung-sponges, the stomach-sac, the bowels sweet and clean, The brain in its folds inside the skull-frame, Sympathies, heart-valves, palate-valves, sexuality, maternity, Womanhood, and all that is a woman, and the man that comes from woman, The womb, the teats, nipples, breast-milk, tears, laughter, weeping, love-looks, love-perturbations and risings, The voice, articulation, language, whispering, shouting aloud, Food, drink, pulse, digestion, sweat, sleep, walking, swimming, Poise on the hips, leaping, reclining, embracing, arm-curving and tightening, The continual changes of the flex of the mouth, and around the eyes, The skin, the sunburnt shade, freckles, hair, The curious sympathy one feels when feeling with the hand the naked meat of the body, The circling rivers the breath, and breathing it in and out, The beauty of the waist, and thence of the hips, and thence downward toward the knees, The thin red jellies within you or within me, the bones and the marrow in the bones, The exquisite realization of health; O I say these are not the parts and poems of the body only, but of the soul, O I say now these are the soul! I love how passionate he is about his words and poems because it really helps to paint a picture in my mind about what he is thinking. All is a procession; The universe is a procession, with measured and beautiful motion. At the end, all the parts come together to make a person, showing that everything works together to create one thing. He talks about lusty, youthful wresters, some totally nude swimmers, women's breasts, and so much more. Because, of course, that show always has a way to connect to anything if you try hard enough.