The poem asserts the triumph of the eternal life over death. Only the realization of death can lead to emotional and artistic maturity. The bird's song awakens him to his calling, which he realizes in the future, and he reaches back into the past and perpetuates the bird's song, thus guaranteeing it an afterlife. Which I do not forget, But fuse the song of two together, That was sung to me in the moonlight on Paumanok's gray beach, With the thousand responsive songs, at random, My own songs, awaked from that hour, And with them the key, the word up from the waves, The word of the sweetest song, and all songs, That strong and delicious word which, creeping to my feet, The sea whispered me. He published the volume himself, and sent a copy to Emerson in July of 1855.
Whereas image requires some relationship between the figural and the literalit is, in other words, a representationprosopopoeia is a trope operating in a system of translation. Some critics have taken the poem to be an elegy mourning the death of someone dear to him. But this message is implied rather than stated. In Washington, he lived on a clerk's salary and modest royalties, and spent any excess money, including gifts from friends, to buy supplies for the patients he nursed. This poem was composed with an awareness not only of the spread of his body but with the spread of his body over time. In the early 1870s, Whitman settled in Camden, New Jersey, where he had come to visit his dying mother at his brother's house.
Whitman here is like Isis, who stung Re with a serpent and then withheld the cure for the sting until he told her his most secret name; when he did, he was completely in her power. Whichever way I turn, O I think you could give me my mate back again if you only would, For I am almost sure I see her dimly whichever way I look. Loud I call to you, my love! Perhaps the one I want so much will rise, will rise with some of you. We two together no more. Nature is a tabula rasa onto which the poet can project himself. O under that moon where she droops almost down into the sea! In spite of the fact that the poem is about intrinsically sorrowful events, or perhaps because of it, Whitman is able to capture a very unique and poignant portrayal of love.
Sound clearer through the atmosphere! Is the adult, and pyrotechnically eloquent, speaker, with all his involved conceits, an infant? What is that dusky spot in your brown yellow? Whereas pure poetry erupts spontaneously from the heart, the boy's interior language derives from an external origin. O give me the clew! Sound clearer through the atmosphere! O you dear women's and men's phantoms! Written in free lyrical verse this poem is one of the most influential and difficult one. It takes us into ourselves; it takes us out of ourselves. He call'd on his mate, He pour'd forth the meanings which I of all men know. He's obviously in love with the word, and not ashamed to show it. Close on its wave soothes the wave behind, And again another behind embracing and lapping, every one close, But my love soothes not me, not me.
What is that dusky spot in your brown yellow? So intense is the bird's melodious interlude, ranging as it does from highs to lows, so gripping are the images accompanying its performance, that it may be viewed as a poetic transliteration of an aria from La Favorita, which Whitman heard in New York City performed by the contralto Marietta Alboni. Iteration determines the term, disseminates its content across a structural field, diffuses it into a past and a future that has no termination. In answer to our inquiries, he said it was about a mocking bird, and was founded on a real incident. The reminiscence that he sings, whether recalled or invented, is of the singular experience in his childhood which made him the man-poet that he now is and that he expects always to be. O troubled reflection in the sea! And thenceforward, all summer, in the sound of the sea, And at night, under the full of the moon, in calmer weather, Over the hoarse surging of the sea, Or flitting from brier to brier by day, I saw, I heard at intervals, the remaining one, the he-bird, The solitary guest from Alabama. Loud I call to you, my love! While expressing his ideas he used symbols from nature, such as grass, plants, birds and heavenly bodies, enabling readers to understand his ideas clearly. Here death is shown to be the one lesson a child must learn, whether from nature or from an elder.
O troubled reflection in the sea! The poet, consequently, is an intruder, a third element that does not dialectically subsume the two; he disrupts their harmony. Once Paumanok, When the lilac-scent was in the air and Fifth-month grass was growing, Up this seashore in some briers, Two feather'd guests from Alabama, two together, And their nest, and four light-green eggs spotted with brown, And every day the he-bird to and fro near at hand, And every day the she-bird crouch'd on her nest, silent, with bright eyes, And every day I, a curious boy, never too close, never disturbing them, Cautiously peering, absorbing, translating. After his death on March 26, 1892, Whitman was buried in a tomb he designed and had built on a lot in Harleigh Cemetery. The poem moves in the concluding sequence from past to present, returning to the adult frame of the poet. Is that it from your liquid rims and wet sands? That evening comes before me now as one of the most enjoyable of my life.
Once Paumanok, When the lilac-scent was in the air and Fifth-month grass was growing, Up this seashore in some briers, Two feather'd guests from Alabama, two together, And their nest, and four light-green eggs spotted with brown, And every day the he-bird to and fro near at hand, And every day the she-bird crouch'd on her nest, silent, with bright eyes, And every day I, a curious boy, never too close, never disturbing them, Cautiously peering, absorbing, translating. O moon do not keep her from me any longer. Carols under that lagging, yellow, waning moon! The poem vividly depicts the growing process of the boy from immaturity to maturity through his live experience of the love of the birds and the death of one bird. A word then, for I will conquer it, The word final, superior to all, Subtle, sent up--what is it? He call'd on his mate, He pour'd forth the meanings which I of all men know. The boy falls from innocence into mortality and self-consciousness the clearest symptom of which is language and then recounts the story of his separation from nature, hoping that narration will grant him a sense of control over or at least some palliating understanding of his catastrophe. We two together no more. From Walt Whitman and the American Reader.
He stayed with his brother until the 1882 publication of Leaves of Grass James R. But my love no more, no more with me! Close on its wave soothes the wave behind, And again another behind embracing and lapping, every one close, But my love soothes not me, not me. Carols under that lagging, yellow, waning moon! While it may become a part of him that is always present, the fact that it does so seems to be by his permission. O troubled reflection in the sea! The male stays near the nest, calling for his lost mate. For I, that was a child, my tongue's use sleeping, now I have heard you, Now in a moment I know what I am for, I awake, And already a thousand singers, a thousand songs, clearer, louder and more sorrowful than yours, A thousand warbling echoes have started to life within me, never to die. A word then, for I will conquer it, The word final, superior to all, Subtle, sent upwhat is it? This poem, more than any other by Whitman, conforms to Bloom's map of poetic crossings.