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In Search of Walt Whitman, Part One: The Early Years (1819-1860)

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Essay about Emily Dickinson and Walt Witman Clash

God comes a loving bed-fellow and sleeps at my side all night and close on the peep of the day, And leaves for me baskets covered with white towels bulging the house with their plenty …. Whitman, of course, is among the most influential and celebrated poets in U. He strove for decades to promote himself and preserve for posterity his reputation. Some of his tweaks were apt.

“The past, the future, majesty, love — if they are vacant of you, you are vacant of them.”

All writers know this law: revision succeeds in inverse ratio to the amount of time passed since the work was written. Revision is most likely to improve a poem when it directly follows composition, because it is, in fact, a slower, more reflective phase of the creative act.

It is most likely to fail if many years have passed — such as the quarter century between the first publication and the last revision of Leaves of Grass.

One reason why delayed revision often fails is that the writer eventually loses track of what he or she was originally trying to do — or more likely, was doing without trying. Great works are often written more by exploration, by feel, by instinct, than by fixed intentions; and so it is easy for an author to forget the reasons — if he or she ever articulated them — for those inspired leapsthose sudden decisions and shifts of direction, which were here and compelling during composition.

Yet such inspiration, of course, is not something we can control or summon at will. Thus, in the backward-looking process of revision — particularly after much elapsed time — artists like Whitman are often returning to their work driven less by those holy ghosts of inspiration and more by self-conscious desires to exert creative control Short Essay On Walt Whitman achieve some perceived kind of perfection, undoubtedly shaped by external expectations. Short Essay On Walt Whitman unpacks a wide Lokpal Bill of examples demonstrating this basic point — that over the decades, Whitman shot Shlrt in the foot again and again with all of his obsessive tweaking and padding-of-the-poetic-record.

Several of the most interesting examples are those in which an older Whitman removed or softened earlier expressions of youthful vulnerability. Kinnell writes. Unscrew the doors themselves from their jambs! He became less trustful of the common instinct that makes language intelligible and felt it necessary to explain perfectly comprehensible, spontaneous turns of phrase. But his edits thus tended Shhort run against the very nature of the poetic art — grounded, like any other art, in inspiration, in love — and so became largely self-defeating. As Kinnell concludes. The sad truth is that the final edition of Leaves of Grass is far less exciting than the first.

On the contrary, the more he searched for perfection, the further away it went. We all fall hopelessly short.

And perhaps the same lesson applies to all of us: poets or not. Perhaps, in our relationship to the Law — or perfection of any kind — the more we strive for it, the more it eludes us.]