By David S. Reynolds
Few authors are so compatible to ancient learn as Whitman, who's greatly thought of America's maximum poet. This consultant combines modern cultural reports and ancient scholarship to light up Whitman's assorted contexts. The essays discover dimensions of Whitman's dynamic courting to working-class politics, race and slavery, sexual mores, the visible arts, and the assumption of democracy. The poet who emerges from this quantity is not any "solitary singer," distanced from his tradition, yet what he himself known as "the age transfigured," totally enmeshed in his instances and addressing matters which are nonetheless very important this day.
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Extra info for A Historical Guide to Walt Whitman (Historical Guides to American Authors)
Henry M. Christian, ed. Walt Whitman's New York (New York: Macmillan, 1963), 57. 9. : Peter Smith, 1972), I:xxvi, n. 9. 10. WWC, I:194. n. All quotations in this paragraph are from WEP, 248-49. 12. See Horace Traubel, "Walt Whitman, Schoolmaster: Notes of a Conversation with Charles A. Roe," Walt Whitman Fellowship Papers 14 (Philadelphia: Apr. 1895): 81-87. 13. Scudder Whitney to Lotte Rees, letter of August 18, 1906. Y. 14. Citations from the Woodbury letters are from Arthur Golden, "Nine Early Whitman Letters, 1840-1841," American Literature 58 (Oct.
2 Over the course of his career, Whitman seems to have espoused the full spectrum of nineteenth-century white American racialist views. Recently, Martin Klammer has investigated in detail Whitman's shifting attitudes toward slavery leading up to and including the first edition of Leaves. Klammer traces Whitman's representations of blacks from his 1842 temperance novel, Franklin Evans, in which Klammer discerns proslavery attitudes, through his journalism, where Whitman develops a Free-Soil stance, accepting slavery where it then existed but unwilling to see it extended into developing territories and states in the West.
They made singing oneself a commonplace in the public arena. "37 His populist leanings controlled even his response to that relatively elite form of music, the Italian opera. 38 The opera star he especially praised, the Italian contralto Marietta Alboni, was unique for him since she straddled the elite and the popular audience. She was not only a superb performer but also a musical bridge between the social classes. "40 His identification with his culture extended even to the most apparently private area—sex.