By John E. Seery
The works of Walt Whitman were defined as masculine, female, postcolonial, homoerotic, city, natural, exact, and democratic, but arguments in regards to the volume to which Whitman might or could be thought of a political poet haven't begun to be absolutely faced. a few students fail to remember Whitman's knowing of democracy, insisting on setting apart his own works from his political works. A Political spouse to Walt Whitman is the 1st full-length exploration of Whitman's works during the lens of political thought. Editor John E. Seery and a set of well-known theorists and philosophers discover the political knowledge of Whitman's poetry and prose, interpreting his religion within the capability of people, his demand a revolution in literature and political tradition, and his trust within the chance of mixing heroic individualism with democratic justice. A Political significant other to Walt Whitman reaches past literature into political conception, revealing the ideology at the back of Whitman's demand the emergence of yankee poets of democracy.
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Extra resources for A Political Companion to Walt Whitman (Political Companions to Great American Authors)
Indeed, he may be the greatest. ”1 To put it more academically, he is perhaps the greatest philosopher of the culture of democracy. He writes the best phrases and sentences about democracy. By democratic culture, I mean these things especially. First, democratic culture is (or can be) the soil for the creation of new works of high art—great poems and moral writings, in particular. Second, democratic culture is (or is becoming) a particularist stylization of life—that is, a distinctive set of appearances, habits, rituals, dress, ceremonies, folk traditions, and historical memories.
O. Matthiessen, American Renaissance: Art and Expression in the Age of Emerson and Whitman (New York: Oxford University Press, 1941), 649. 2. I have used throughout Walt Whitman, Leaves of Grass, ed. Sculley Bradley and Harold W. Blodgett (New York: Norton Critical Editions, 1973). Section numbers of “Song of Myself” are given in the text. 3. , 707. 4. : Cornell University Press, 1961), vii–li; Roy Harvey Pearce, The Continuity of American Poetry (Princeton: Princeton University Press, 1977), 69–83; Harold Bloom, Poetics of Influence, ed.
It is not a matter of detecting similarity in the processes of mind and nature, but of discovering kinship between oneself and others (and the rest of nature). The relationship is not analogical or symbolical, not a correspondence or reflection, but actual; it is independent of any reference to a Creator or to any assimilation to a Creator. I think that Whitman’s Whitman and the Culture of Democracy 35 general way in “Song of Myself” is much the better way of trying to effect reconciliation. Not only does it avoid theological metaphysics, it does not too insistently moralize.