Leaves of Grass, a Textual Variorum of the Printed Poems, 1855-1856
by Walt Whitman
8.14 / 10 2.6K ratings
- Language
- English
- Published
- 1959
- Publisher
- Penguin Group USA, Incorporated
- Pages
- 145
- ISBN
- 9780670422456
First published in 1855, Walt Whitman's Leaves of Grass emerged as a revolutionary collection that redefined American poetry. This original edition, a slim volume of twelve untitled poems and a preface, introduced a groundbreaking free verse style, departing from conventional meter and rhyme to capture the expansive spirit of a young nation. It celebrates the individual, the interconnectedness of all life, and the democratic ideal, embracing themes of identity, nature, and the human body with an unprecedented frankness that was both praised and condemned by its contemporaries.
This foundational work, including early versions of what would become "Song of Myself," established a distinctive American poetic voice. Whitman's "language-experiment" explores social, political, and spiritual equality, finding beauty in the ordinary and celebrating individuality. The 1855 Leaves of Grass remains a vital expression of 19th-century American thought, challenging conventions and inviting readers to experience a vision of humanity and nationhood that continues to resonate.
This foundational work, including early versions of what would become "Song of Myself," established a distinctive American poetic voice. Whitman's "language-experiment" explores social, political, and spiritual equality, finding beauty in the ordinary and celebrating individuality. The 1855 Leaves of Grass remains a vital expression of 19th-century American thought, challenging conventions and inviting readers to experience a vision of humanity and nationhood that continues to resonate.
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Original edition
Leaves of Grass The Original 1855 EditionOriginally published in 1855 English Innovative Eggz LLC
Other editions (382)
Listen to the summary Narrated summary
I celebrate myself, and sing myself, and what I assume you shall assume, for every atom belonging to me as good belongs to you. I loafe and invite my soul; I lean and loafe at my ease, observing a spear of summer grass. My tongue, every atom of my blood, form'd from this soil, this air, born here of parents born here from parents the same, and their parents the same, I, now thirty-seven years old in perfect health begin, hoping to cease not till death.
I believe in you, my soul, the other I am must not abase itself to you, and you must not be abased to the other. Loafe with me on the grass, loose the stop from your throat, not words, not music or rhyme I want, not custom or lecture, not even the best, only the lull I like, the hum of your valvèd voice. I am of old and young, of the foolish as much as the wise, maternal as well as paternal, a child as well as a man, stuff'd with the stuff that is coarse and stuff'd with the stuff that is fine. I take to the open air, to the farm, the ocean, the woods, the city streets, to every season and every hour, and find my delight in all. I am the poet of the body and I am the poet of the soul.
The United States themselves are essentially the greatest poem, a teeming nation of nations, where to be a poet is to be commensurate with a people. I wander all night in my vision, seeing the endless processions of men and women, of trades and crafts, of families and lovers, of the living and the dead. I see the carpenter, the pilot, the mother, the slave, the bride, the prostitute, the President, the common folk – all are divine, all are equal, all contain multitudes. My voice is the sound of the American spirit, wild and untamed, a barbaric yawp over the roofs of the world.
I sing the body electric, the procreant urge of the world. The human form, male and female, is sacred and beautiful, every organ, every limb, every function a miracle. I exalt nature, celebrating the senses and sexual love as part of the divine plan, a natural expression of life's continuous flow. What is common I make uncommon, what is low I lift high, for there is nothing in this world that does not hold a piece of the infinite.
I perceive in the grass not just a simple blade, but the beautiful uncut hair of graves, a symbol of endless renewal, of life springing from death. The smallest sprout shows there is really no death, and if ever there was it led forward life, and does not wait at the end to arrest it, but always forward and in motion. The rough and sensuous world, with all its joys and sorrows, its struggles and triumphs, is a testament to the ongoing cycle of existence.
To think of time, to think through it, to pierce the veil of what was and what will be, and to know that all is now, all is here. I am large, I contain multitudes. Do I contradict myself? Very well then I contradict myself. I am a kosmos, of Manhattan the son, turbulent, fleshy, sensual, eating, drinking and breeding. No sentimentalist, no stander above men and women or apart from them, no more modest than immodest.
I bequeath myself to the dirt to grow from the grass I love; if you want me again look for me under your boot-soles. You will hardly know who I am or what I mean, but I shall be good health to you nevertheless, and filter and fibre your blood. Failing to fetch me at first keep encouraged, missing me one place search another, I stop somewhere waiting for you.
I believe in you, my soul, the other I am must not abase itself to you, and you must not be abased to the other. Loafe with me on the grass, loose the stop from your throat, not words, not music or rhyme I want, not custom or lecture, not even the best, only the lull I like, the hum of your valvèd voice. I am of old and young, of the foolish as much as the wise, maternal as well as paternal, a child as well as a man, stuff'd with the stuff that is coarse and stuff'd with the stuff that is fine. I take to the open air, to the farm, the ocean, the woods, the city streets, to every season and every hour, and find my delight in all. I am the poet of the body and I am the poet of the soul.
The United States themselves are essentially the greatest poem, a teeming nation of nations, where to be a poet is to be commensurate with a people. I wander all night in my vision, seeing the endless processions of men and women, of trades and crafts, of families and lovers, of the living and the dead. I see the carpenter, the pilot, the mother, the slave, the bride, the prostitute, the President, the common folk – all are divine, all are equal, all contain multitudes. My voice is the sound of the American spirit, wild and untamed, a barbaric yawp over the roofs of the world.
I sing the body electric, the procreant urge of the world. The human form, male and female, is sacred and beautiful, every organ, every limb, every function a miracle. I exalt nature, celebrating the senses and sexual love as part of the divine plan, a natural expression of life's continuous flow. What is common I make uncommon, what is low I lift high, for there is nothing in this world that does not hold a piece of the infinite.
I perceive in the grass not just a simple blade, but the beautiful uncut hair of graves, a symbol of endless renewal, of life springing from death. The smallest sprout shows there is really no death, and if ever there was it led forward life, and does not wait at the end to arrest it, but always forward and in motion. The rough and sensuous world, with all its joys and sorrows, its struggles and triumphs, is a testament to the ongoing cycle of existence.
To think of time, to think through it, to pierce the veil of what was and what will be, and to know that all is now, all is here. I am large, I contain multitudes. Do I contradict myself? Very well then I contradict myself. I am a kosmos, of Manhattan the son, turbulent, fleshy, sensual, eating, drinking and breeding. No sentimentalist, no stander above men and women or apart from them, no more modest than immodest.
I bequeath myself to the dirt to grow from the grass I love; if you want me again look for me under your boot-soles. You will hardly know who I am or what I mean, but I shall be good health to you nevertheless, and filter and fibre your blood. Failing to fetch me at first keep encouraged, missing me one place search another, I stop somewhere waiting for you.
What other readers say
Liked
Many readers find Walt Whitman's poetry to be a profound and distinctive experience, praising its coherence, courage, and soulful depth. The collection is celebrated for its ability to connect with readers across generations, offering a timeless reflection on humanity, nature, and the American spirit. Reviewers highlight his audacious and challenging style, which nonetheless rolls and roars with a directness that can evoke strong emotional responses, from smiles to gasps of awe. Specific praise is given to the masterful "Song of Myself" and other deeply felt poems that explore themes of love, grief, sexuality, and the Civil War. Whitman is lauded for his optimistic vision, his humanistic outlook, and his uninhibited exploration of the body and self, making his work feel imaginative, daring, and essential for a divided world. Many consider his poetry to be a miraculous collection, capable of inspiring patriotism and changing the minds of those who typically shy away from verse.
Disliked
Despite widespread acclaim, some readers found Whitman's poetry to be challenging, experiencing it as repetitive or monotonous. A few reviewers admitted to skimming sections, struggling to maintain interest due to the length of some poems, the older language, or the perceived lack of concentrated power compared to his contemporaries. For some, certain themes, particularly the overtly sexual or explicit descriptions, were not to their taste, or even off-putting in translation. The free verse style, while celebrated by many, proved difficult for others to engage with, especially when reading silently, suggesting it might be better suited for oral recitation. Some found that the poems, particularly longer ones, could "stumble" or not fully capture their interest, indicating that Whitman's unique voice may not resonate with every reader.
In short
Overall, Walt Whitman's poetry is presented as a significant and impactful body of work that continues to provoke strong reactions, both positive and negative. It is highly recommended for readers seeking a deep, uninhibited, and often joyous exploration of the human condition, American identity, and the intricate connections between self, nature, and community. Those interested in the origins of modern American free verse, or who appreciate poetry that is expansive, philosophical, and unafraid to tackle challenging topics like sexuality, war, and grief, will likely find this collection invaluable. While it may require patience and an openness to its unique style, particularly its long lines and occasional repetition, readers who engage with Whitman's work are often rewarded with a profound sense of connection and a renewed appreciation for life's raw beauty and complexity. It is especially suited for those who enjoy poetry meant to be felt and experienced, rather than merely read.
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