By Harold Bloom, Visit Amazon's Temple Cone Page, search results, Learn about Author Central, Temple Cone,
Walt Whitman transcended the traditional sentiments and romanticized morality of his period with a physique of labor that included new poetic types and debatable material. This quantity examines Whitman’s thoughts with an advent via Professor Harold Bloom, an in depth biography of Whitman, and a severe research of his paintings, together with "Leaves of Grass." Bloom’s BioCritiques is edited by way of Harold Bloom, Sterling Professor of the arts, Yale collage; Henry W. and Albert A. Berg Professor of English, manhattan college Graduate college; the preeminent literary critic of our time. This sequence provides long and fascinating biographies that discover the lives of the world’s maximum writers. every one e-book additionally comprises an unique serious research detailing the real subject matters, symbols, and ideas that seem within the writer’s physique of labor, in addition to extra essays that symbolize the very best feedback on hand at the author and his or her paintings. those volumes are the ideal advent to severe research of the $64000 authors at the moment learn and mentioned in excessive colleges, faculties, and graduate faculties.
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Additional resources for Walt Whitman (Bloom's Classic Critical Views)
Sample text
Rossetti, and Mr. Buchanan, who have praised his performances, appear to me to be playing off on the public a well-intentioned, probably good-humoured, but really cruel hoax. . The Leaves of Grass, under which designation Whitman includes all his poems, are unlike anything else that has passed among men as poetry. They are neither in rhyme nor in any measure known as blank verse; and they are emitted in spurts or gushes of unequal length, which can only by courtesy be called lines. Neither in form nor in substance are they poetry; they are inflated, wordy, foolish prose; and it is only because he and his eulogists call them poems, and because I do not care to dispute about words, that I give them the name.
Whitman avers that the time has come to break down the barriers between prose and verse, and that only thus can the American bard utter anything commensurate with the liberty and splendor of his themes. Now, the mark of a poet is that he is at ease 38 Walt Whitman everywhere,—that nothing can hamper his gifts, his exultant freedom. He is a master of expression. There are certain points—note this—where expression takes on rhythm, and certain other points where it ceases to be rhythmical,—places where prose becomes poetical, and where verse grows prosaic; and throughout Whitman’s productions these points are more frequent and unmistakable than in the work of any other writer of our time.
Furthermore, his intimacy with nature is always subjective,—she furnishes the background for his self-portraiture and his images of men. ” His town and country scenes, in peace or in war, are idyllic. Above the genre, for utter want of sympathy, he can only name and designate—he does not depict. A single sketch, done in some original way, often makes a poem; such is that reminiscence (in rhyme) of the old Southern negress, “Ethiopia Saluting the Colors,” and such the touching conceit of Old Ireland—no fair and green-robed Hibernia of the harp, but an ancient, sorrowful mother, white-haired, lean and tattered, seated on the ground, mourning for her children.