Then nature attacks, as if in league with the phantom overhead:
There is no comment submitted by members.. To take only one example, shortly after Whitman was fired, William D. O'Connor wrote a letter of protest to Secretary Harlan in which he mounted a new defense of Whitman's poetry, one that he would elaborate in Imagine if you will one last sequence, a frankly biographical one. But he knows he can't—except of course in "parting," which by this point in Whitman's career has become the central act of his poetry—and so the more he exposes and expresses his love in "Live Oak," the more there's a contrary, self-protective impulse in him to hide it or somehow displace it, distance it or sequester it from public view.In poem 8 Whitman has been abandoned, and it's here that the two narratives most forcefully coincide. The $10,000 “Be Bold” Scholarship is a no-essay scholarship that will be awarded to the applicant with the boldest profile.
Not once does Whitman speak to his lover about his desire; in fact, he's quite clear in saying at the end that "I dare not tell it in words—not even in these songs." In the beginning, Whitman is so ecstatically in love that an image of his formerly independent self (the live oak) now bemuses him. Ease the pounding of my heart by the quieting of my mind. . arm the shoulder of his friend—while the arm of hisHours of the dusk, when I withdraw to a lonesome and Poems by Walt Whitman: 110 / 393 « prev. A deep tension appears in Whitman between pride in his new self and a resistance to that self which absorbs him and provokes his blustering defiance.The tension breaks out again in poem 7 when Whitman instructs "You bards of ages hence" to "Publish my name and hang up my picture as that of the tenderest lover" but then walks with his lover "apart from other men." Then what little remains of the new self he exposed and expressed in "Live Oak" and "Calamus" is swallowed up: Rebuilding a historic sailing yacht – Milling Live Oak timbers on Cross Sawmill’s massive homemade bandsaw, in the Deep South. The retreat from his sexuality that follows the third edition thus has its counterpart in a degeneration of Whitman's style.Such problems of style in "Live Oak" also derive from Whitman's difficulty in finding a way to deal with his subject, a difficulty that shows in euphemisms like "manly love" and "robust love" and in frequent couplings of friend and lover; friendship and love; a friend, a lover; my dear friends, my lovers. As if there could be a world. Is he writing to himself as his private memo suggests, to the reader/lover of his earlier work, to "bards of ages hence," to the United States, or to some potential readership "eligible to burst forth" if only he can find the right attitude and tone? ocean of love within him—and freely poured it forth,Who often walked lonesome walks, thinking of his dearWho knew too well the sick, sick dread lest the one heWhose happiest days were far away, through fields, in All his leaves Fall'n at length, Look, he stands, Trunk and bough Naked strength. A mighty wind blew night and day. Ohio's land, the southern savannas, engrossed me— It's as if Whitman has rewritten the opening lines of "Song of Myself" to read "I celebrate my homosexuality, / And what I assume, you, dear common reader, shall "Calamus" is in fact framed by such incoherence.
His lover joins him, and soon thereafter Whitman renounces his poetry on the lover's behalf. It has the best of his tenderness and his homespun grandeur, and it's prosodically masterful—the lines swelling, cresting, and subsiding like the ocean waves Whitman sought to re-create in language. And it seemed to me that I too had it in me to be asAnd then, to enclose all, it came to me to strike up the Two of these are line length and Syntax also contributes to rhythm. and shows Whitman exploring the world of homosexual love he'd longed for in his earlier poetry while learning the costs of expressing that love. In December he publishes "Out of the Cradle Endlessly Rocking" in which the boy on the beach at night is awakened to his vocation as poet by the bird's song of loss, whereupon the boy realizes that "Never again [shall] the cries of unsatisfied love be absent from me." It's tremulous with yearning, but Whitman's satisfactions are accomplished mostly in reminiscence, in boast, in dream or daydream, or somewhere in the future.
Somewhere in the future it's fine for Whitman to be known as a man-lover; in the present, however, he and his lover had better become invisible. should become attached to them, as I do to men inIt seems to me they are as wise, beautiful, benevolent, The poem’s last lines return to the theme of the opening. pass—you take of my beard, breast, hands, in return,I am not to speak to you—I am to think of you when II am to wait—I do not doubt I am to meet you again,I am to see to it that I do not lose you. From here to the end, it controls the sequence.Immediately after Whitman's abandonment, poem 9 gives us a compensation in the form of a wish fulfillment, a utopian solution to the twin pains of abandonment and social oppression: "I dreamed in a dream, I saw a city invincible to the attacks of the whole of the rest of the earth, / I dreamed that was the new City of Friends."
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