Content:
Edward Grier dates this notebook before 1855, based on the pronoun revisions from third person to first person and the notebook's similarity to Whitman's early
"Talbot Wilson"
notebook (
Notebooks and Unpublished Prose Manuscripts
[New York: New York University Press, 1984], 1:102). Grier notes that a portion of this notebook (beginning "How spied the captain and sailors") describes the wreck of the ship
San Francisco
in January 1854 (1:108 n33). A note on one of the last pages of the notebook (surface 26) matches the plot of the first of four tales Whitman published as "Some Fact-Romances" in
The Aristidean
in 1845, so segments of the notebook may have been written as early as the 1840s. Lines from the notebook were used in "Song of Myself" and "A Song of the Rolling Earth," which appeared in the 1856
Leaves of Grass
. Language and ideas from the notebook also appear to have contributed to other poems and prose, including "Miracles;" the preface to the 1855
Leaves of Grass
; "The Sleepers," which first appeared as the fourth poem in the 1855
Leaves
; and "A Song of Joys," which appeared as "Poem of Joys" in the 1860 edition.
Whitman Archive Title: No doubt the efflux of the soul
Content:
This notebook consists almost entirely of prose. However, the ideas and language developed throughout the notebook can be linked to a number of poems that appeared in
Leaves of Grass
, including "Song of Myself," "Great are the Myths" (ultimately shortened to a few lines and titled "Youth, Day, Old Age, and Night"), "Faces," "The Sleepers," and "To Think of Time," versions of which appeared in
Leaves of Grass
in 1855. One manuscript passage is similar to a passage in the preface to the 1855 edition. Thus, this notebook was almost certainly written before that date. Content from the first several paragraphs of this notebook was also used slightly revised in "Song of the Open Road," first published in the 1856 edition of
Leaves
as "Poem of the Road."
Content:
Manuscript expressing a belief in the continuing "amelioration" of the earth
and humankind, written on a scrap of wallpaper. Although it is cast in
prose, this may be an early draft of a group of lines, expressing
similar thoughts, in "Great Are
the Myths," which was first published as the final, untitled,
poem of the 1855 edition of
Leaves
of Grass
. It also bears some resemblance to lines that appeared in the first poem in that edition, eventually titled "Song of Myself." Whitman continued to revise the poem in later editions of
Leaves of Grass.
In the 1881–1882 edition, Whitman removed "Great Are the Myths" from
Leaves
of Grass
altogether, except for four lines, which he titled "Youth, Day, Old Age, and
Night."
Content:
Because it comprises material that Whitman used in the first edition of
Leaves of Grass
, this notebook must date to sometime before mid-1855.Emory Holloway has posited several connections between passages in this notebook and specific lines in the 1855 edition. Although some of these connections are dubious, the notebook's series of drafts about the effects of music are clearly related to what ultimately became section 26 of "Song of Myself." See Emory Holloway, ed.,
The Uncollected Poetry and Prose of Walt Whitman
(Garden City, New York: Doubleday, Page & Co., 1921), 2:83–86.
Content:
Early discussions of this notebook dated it in the 1840s, and the date associated with it in the Library of Congress finding aid is 1847. The cover of the notebook features a note calling it the "Earliest and Most Important Notebook of Walt Whitman." A note on leaf 27 recto includes the date April 19, 1847, and the year 1847 is listed again as part of a payment note on leaf 43 recto. More recently, however, scholars have argued that Whitman repurposed this notebook, and that most of the writing was more likely from 1853 to 1854, just before the publication of
Leaves of Grass
. Almost certainly Whitman began the notebook by keeping accounts, producing the figures that are still visible on some of the page stubs, and later returned to it to write the poetry and prose drafts. For further discussion of dating and the fascinating history of this notebook into the twentieth century, see Matt Miller,
Collage of Myself: Walt Whitman and the Making of Leaves of Grass
(Lincoln: University of Nebraska Press, 2010), 2–8. See also Andrew C. Higgins, "Wage Slavery and the Composition of
Leaves of Grass
: The
Talbot Wilson
Notebook,"
Walt Whitman Quarterly Review
20:2 (Fall 2002), 53–77. Scholars have noted a relationship between this notebook and much of the prose and poetry that appeared in the 1855 edition of
Leaves of Grass
. See, for instance, Edward Grier,
Notebooks and Unpublished Prose Manuscripts
(New York: New York University Press, 1984), 1:53–82. The notebook was lost when Grier published his transcription (based on microfilm). The notebook features an early (if not the earliest) example of Whitman using his characteristic long poetic lines, as well as the "generic or cosmic or transcendental 'I'" that appears in
Leaves of Grass
(Grier, 1:55).
Content:
This document consists of two manuscript scraps pasted together to make one leaf. Based on the handwriting, Edward Grier dates the top scrap to the 1860s and the bottom scrap to the 1850s (
Notebooks and Unpublished Prose Manuscripts
[New York: New York University Press, 1984], 1:474). The relationship of the first scrap to Whitman's published work is unclear, although Grier notes that "Parsons was a [New York] street preacher who was arrested December 11, 1853 by order of Mayor Jacob Aaron Westervelt (1800–1879) for his incendiary anti-Catholic, anti-foreign speeches. [Whitman], as political journalist, was interested in the resulting 'freedom of speech' controversies. The march referred to took place on December 18" (1:474). Portions of the second scrap are related to "Great Are the Myths," first published, untitled, in the 1855 edition of
Leaves of Grass
as the concluding poem, and again in the 1856 edition as "Poem of a Few Greatnesses." These two scraps are largely unrelated: perhaps the only connection between the two is the theme of silence.
Content:
The imagery of this manuscript is echoed in several other manuscripts, as well as in a line of the opening poem of the first (1855) edition of
Leaves of Grass
—the poem eventually titled "Song of Myself" (see "you know how" [loc.00142], "I know a rich capitalist" [nyp.00129], and "the crowds naked in the" [nyp.00733]). These relationships suggest that this manuscript dates to early in 1855 or before. Edward Grier has observed that "the writing suggests a date in the 1850s" (see
Notebooks and Unpublished Prose Manuscripts
[New York: New York University Press, 1984], 1:136).
Content:
These lines are a draft of the following lines in the twelfth poem of the 1855 edition of
Leaves of Grass
, a poem that was later titled "Great Are the Myths": "GREAT are the myths . . . . I too delight in them, / Great are Adam and Eve . . . . I too look back and accept them; / Great the risen and fallen nations, and their poets, women, sages, inventors, rulers, warriors and priests." (1855, p. 93). The poem went through many revisions through the different editions of
Leaves of Grass
, then was permanently dropped in 1881–1882, except the two couplets that became the poem "Youth, Day, Old Age, and Night." The reverse of the manuscript (duk.00938) has cancelled prose beginning "The true friends of the Sabbath."
Whitman Archive Title: You lusty and graceflu youth
Content:
An early version of a part of "Great Are the Myths," a poem first published, untitled, as the concluding poem in the 1855 edition of
Leaves
of Grass
, and again in the 1856 edition as "Poem of a Few Greatnesses." The poem went through many revisions
through the different editions of
Leaves of Grass
, then was permanently dropped in 1881–1882, except the two couplets that became the poem "Youth, Day, Old Age, and Night." On the reverse (duk.00889) is partially cancelled verse beginning "Are the prostitutes nothing?" which includes a draft of a line from the third poem in the 1855 edition of
Leaves of Grass
, ultimately called "To Think of Time."
Whitman Archive Title: Remembrances I plant American ground
Content:
The draft poetic lines in this manuscript includes some language similar to wording in the first and final poems in the first (1855) edition of
Leaves of Grass
, eventually titled "Song of Myself" and "Great are the Myths." On the reverse (duk.00884) is a list of rivers, lakes, and cities that likely contributed to "Poem of Salutation" in the 1856 edition of
Leaves
.
Whitman Archive Title: Are the prostitutes nothing
Content:
This manuscript includes a line beginning "Are the prostitutes nothing?" which is a draft of a line from the third poem in the 1855 edition of
Leaves of Grass
, eventually titled "To Think of Time." The words "attraction of gravity," included in a crossed-out line in this manuscript, appear in two contexts in the 1855 edition of
Leaves of Grass
. The closest in meaning to its use in this manuscript is in the poem later titled "Great Are the Myths": "It cannot be varied by statutes, any more than love, pride, the attraction of gravity, can" (1855, p. 251). "Great Are the Myths" was ultimately shortened to a few lines and published as "Youth, Day, Old Age, and Night" in the 1881
Leaves of Grass
. On the reverse (duk.00032) is also an early version of a part of "Great Are the Myths."
Content:
Emory Holloway has pointed out that Whitman's reference to the sinking of the
San Francisco
indicates that this notebook, "or at least part of it, is later than 1853." He writes that "it was probably begun in 1854" because the "marble church" in the first passage presumably refers to the Marble Collegiate Church in Manhattan, "which was not completed until then." See Holloway, "A Whitman Manuscript,"
American Mercury
3 (December 1924), 475–480. See also Andrew C. Higgins, "Art and Argument: The Rise of Walt Whitman's Rhetorical Poetics, 1838-1855," PhD diss., University of Massachusetts, Amherst, 1999; and Edward F. Grier,
Notebooks and Unpublished Prose Manuscripts
(New York: New York University Press, 1984), 1:128–135. Of the notebook passages that can be identified with published works, most represent early versions of images and phrases from the 1855 poem eventually titled "Song of Myself." One passage clearly contributed to the 1856 poem later titled "Song of the Open Road." Others are possibly connected to the poems eventually titled "A Song for Occupations" and "Great Are the Myths," both first published in the 1855 edition of
Leaves of Grass,
and to the preface for that volume. One passage seems to have contributed to the 1860–1861 poem that Whitman later titled "Our Old Feuillage." One passage is similar to a line in a long manuscript poem unpublished in Whitman's lifetime, titled "Pictures". The first several lines of that poem (not including the line in question) were revised and published as "My Picture-Gallery" in
The American
in October 1880 and then in
Leaves of Grass
as part of the "Autumn Rivulets" cluster (1881–1882, p. 310). No image of the outside back cover of the notebook is available because it has been stitched into a larger volume.
Content:
This notebook, now lost, contains much draft material used in the 1855 edition of
Leaves of Grass
, in addition to a few images and phrasings that Whitman used in the second (1856) and third (1860) editions. As the folder title indicates, the notebook is currently represented by photocopied images of each page derived, apparently, from a microfilm of the original that was made in the 1930s prior to the notebook's disappearance from the collection during World War II. As Floyd Stovall has noted, the few datable references in this notebook (e.g., the fighting at Sebastopol during the Crimean War) are to events from about 1853 to late 1854, shortly before the first publication of
Leaves of Grass
. See Stovall, "Dating Whitman's Early Notebooks,"
Studies in Bibliography
24 (1971), 197–204. See also Edward Grier,
Notebooks and Unpublished Prose Manuscripts
(New York: New York University Press, 1984), 1:138–155. Surfaces 9, 10, 54, and 55 bear passages that probably contributed to the first poem of the 1855 edition, eventually titled "Song of Myself," and other material, on surfaces 26, 46, 51, 54, and 58, is clearly linked to the evolution of that poem. A passage on surface 23 is also perhaps related to its development. Surfaces 11 and 12 both have material probably used as fodder for the poem "Song of the Answerer," first published as the seventh poem in the 1855
Leaves.
A brief passage on surface 12 possibly contributed to the poem first published in 1860 as the fourth of the "Chants Democratic" and later retitled "Our Old Feuillage." Surfaces 13 and 46 contain drafts of passages used in the second poem of 1855, later titled "A Song for Occupations." Material on surfaces 24 and 47 probably also contributed to this poem. Passages on surfaces 17, 18, 40, 42, and 45 are likely early drafts toward lines used in "Poem of the Sayers of the Words of the Earth" (1856), which later became "A Song of the Rolling Earth." Surface 18 also bears writing probably related to the twelfth and final poem of the 1855
Leaves,
later titled "Faces." On surfaces 18, 24, and 51 are lines that might represent draft material toward "I Sing the Body Electric" (first published as the fifth poem of the 1855
Leaves
). Other passages, on surfaces 47 and 55, are likely related to that poem; those on surfaces 36, 37, 44, 45, and 47 are certainly related. Ideas and images written on surfaces 20 and 46 are likely related to the poem "Song of the Open Road," which first appeared as "Poem of the Road," and a passage on surface 24 may also be related. Two passages on surface 21 were used in the tenth poem of the 1855
Leaves of Grass,
later titled "There Was a Child Went Forth." Surface 22 contains writing probably used in "Sun-Down Poem" (1856), titled "Crossing Brooklyn Ferry" in later editions. Some of the writing on surface 24 might also have contributed to the development of that poem. Another passage on surface 22, as well as passages on surfaces 26, 47, and 60, are possibly related to the 1855 Preface. A different passage on surface 60 is clearly related to the Preface, and a passage on surface 45 is likely related to it. Two of the draft lines of poetry on surface 31 were used in the untitled third poem of the "Debris" cluster in the 1860 edition of
Leaves of Grass.
This poem was retitled "Leaflets" in 1867 and dropped from subsequent editions. The writing on surface 41 contributed to the 1856 "Poem of Salutation," which was eventually titled "Salut au Monde!" The jotting at the top of surface 43 is also likely connected to this poem.
